About

About

Heather C. MacRae was raised in upstate New York and moved to Savannah, GA in 2011. These environments, wildly varied in their character, have had a profound impact on her work.

Raised by painter Jock MacRae, Heather C. MacRae spent her life in classrooms, galleries, and painting in the field. When she decided she too wanted to dedicate her life to painting, drawing and sharing a love of the arts with others she began her studies at Hartwick College in Oneonta, NY. She received her Bachelor of Arts from Hartwick College with a concentration in Painting and Drawing, minoring in Art- Education (2010). During her undergraduate studies she traveled to Glasgow Scotland to study Painting and Printmaking at the Glasgow School of Art (2009). After graduating and obtaining a NYS Certificate to teach K-12, MacRae moved to Savannah, GA to pursue her M.F.A. in Painting from the Savannah College of Art and Design (2012).

Heather C. MacRae and three other graduate students (Sam Breyer, Naimar Ramirez, and Ben Tollefson) Co-Owned and operated Non-Fiction Gallery from 2012 to 2014. As the Director of Finance and Development, MacRae then stayed on as Exhibitions Director when the gallery was sold to the non-profit organization, Art-Rise Savannah until 2016.

MacRae began teaching at the College of Coastal Georgia in 2015. In 2017, thrilled to begin teaching at her Alma Mater, The Savannah College of Art and Design, MacRae began teaching in the Foundation Studies department and has been there for the last nine years as of this spring.

MacRae’s own work has been shown internationally, and across the United States. She has been mentioned in several publications and has written many exhibitions reviews for digital magazines such as the Savannahian, as well as conducted interviews and reviews for publications such as Burnaway Magazine.

MacRae’s paintings focus on the relationship between memory and reality, between the physical and intangible, light and shadow. While she has some series that center on the human experience in the physical form of the body, and the relationship to the body in space, she often finds herself drawn to the juxtaposition of the human presence in the landscape. The geometric man-made form and the irregular organic form and how these two tangle together in the everyday urban landscape.